Word: reals
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Dates: during 1960-1969
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...President-elect or his Cabinet appointees have done since the Nixon Cabinet show on TV has helped dispel the consternation those Cabinet choices caused. The Cabinet's first press conferences, held in Washington last month under the strict management of Nixon's press aide Herbert Klein, were the first real public indication of the mettle of Nixon...
...Does it take a murder to make Harvard obey the law?," Miss Gill asked last night in a meeting of the Cambridge City Council. "We tried to request the locks from Henry H. Cutler, Harvard's Manager for Taxes, Insurance, and Real Estate, but he told me with a smirk that 'we can't make improvements if we don't get more money out of you people.' We tried to see President Pusey and the Fellows of Harvard, but they talk to no one except themselves...
...classicism imparts thoughtful ambiguity to this excellent police melodrama. The honesty of the filming (and of Siegel's fine actors) make the fate of the characters a matter of some importance to the audience. As we become involved, the script's resolutions assume moral force, and the inconclusiveness of real-life relationships is ably conveyed through intelligent use of genre. Siegel makes few personal judgements along the way and we are left to our own instincts in dealing with Madigan, his wife, and the Police Commissioner; consequently, Madigan's death doesn't resolve anything neatly, but anticlimactically suspends the narrative...
...opinion, Godard is anything but the idol of the French student revolutionaries) but it contrasts well with the other-facets of the film. For example, having established a motif of red paint on white walls, the multi-shaded greens of the train and apartment-house assassination sequences make the real world a complex support of Francis Jeanson's assertion that the students are drasticalliy oversimplifying. But the ending replaces conclusive directorial statement with irony, and signifies that Godard didn't know what kind of statement he wanted to make. I saw La Chinoise in Paris when it opened, and report...
...camera rolling when his actors begin to groove, plainly sacrificing editorial cleanliness for dramatic punch. Petulia's occasional messiness is much to Lester's credit: the film ends at least six times in its attempt to chronicle a relationship realistically, but just before its strange construction becomes irritating, the real last shot appears--a chilling icon justifying most previous excess. George C. Scott, never my favorite actor, turns in a magnificent performance, as does Shirley Knight as his estranged wife...